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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Why Should We Sing the Psalms at Mass?

Richard J. Clark · May 8, 2015

HE PSALMS ARE AN endlessly rich source of spiritual nourishment. Whether it is the liturgy of the hours or the mass, the Psalms—some of the most ancient of scripture—are a central focus of our prayer. But for many who attend mass regularly, this is a head scratcher. Often “The Psalm” only refers to the Responsorial Psalm. And that’s it. No more psalms sung in the mass.

Furthermore, only a few short verses appear in the Responsorial Psalm. This is intentional, of course, as it is a direct reflection or “response” to the previous reading. However, if we do not sing the antiphons proper to the day—and the corresponding psalm verses—this may be all we get.

AM VERY FORTUNATE to have a number of choir members with training in theology, some with advanced degrees. We have lively discussions, and I am often the beneficiary of their insights.

Recently, I received some reflections from one such choir member, comparing the version of Psalm 22 we sing as the Responsorial on Palm Sunday, and the verses of Psalm 22 we sing on the Fifth Sunday of Easter in Cycle B. (Keep in mind, that if one sings the Communion Antiphon on Psalm Sunday, a great deal more of Psalm 22 is sung!)

Each year on Palm Sunday we rehear the striking words “My God, My God, why have you abandoned me?” I would propose for reflection that the many iterations of reflections on this one verse have trapped us into thinking a quite narrow and certain way. A case in point: if we say the word “prodigal,” we immediately add the word “son.” However, the father is much more lavish and generous in a substantial way than the younger son’s wild spending.

The real point in the use of the psalm comes from an understanding of how those who heard it said would have understood. Jesus was preaching from the cross. He was using the words his Father spoke through him [THE WORD] to proclaim his mission to the last breath. The psalms are among the earliest scripture. By and large they were handed over orally. If a person heard the first words of a PSALM it would trigger the recollection of the whole psalm. So, the verses of Ps 22 on Palm Sunday lead us to the verses used here [Easter 5B] as well and those of today looking back to Palm Sunday—certainly much more than a lament and how “abandoned” Jesus felt. We are not abandoned, we are saved.

The final words of Psalm 22 are not well known: Psalm 22:32. “The generation to come will be told of the Lord, that they may proclaim to a people yet unborn the deliverance you have brought.” Jesus’ message from the cross was ultimately that of redemption.

This is what the psalms teach us. Jesus taught through the psalms. Sing the Mass. Sing the Psalms!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Propers, Singing the Mass Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Much more serious was the problem, what to do about ‘thou’ and ‘you.’ I confess I would have liked to go the whole hog, and dispense with the use of ‘thou’ and ‘thee’, even where the Almighty was being addressed. They do these things in France, but I felt sure you could not get it past the British public. Why not, then, have ‘thou’ for God and ‘you’ for man? That is Moffatt’s principle; but it seems to me to break down hopelessly in relation to our Incarnate Lord…”

— Monsignor Ronald A. Knox

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